"Bloody Sunday" is an autopsy of a film, a provocative dramatization of the raging events that led up to one of the most appalling confrontations in the Irish-British wars that continue in Northern Ireland. It perambulates as an even-handed dramatization of the horrible confrontation in which 13 civilian lives were lost.
A British-Irish co-production involving Granada and James Sheridan's Hell's Kitchen company, it's an attempt to make an even-handed depiction of the events and personal stories that led to that terrible day in January 1972 when British soldiers met Irish protesters. Certain viewers, who have the stomach to endure yet another film about the mindless onslaught that goes on in Northern Ireland, may consider it "Blarney Sunday", in reference to its last-point editorial emphasis on the British whitewash of the carnage.
Still, for those who can sit through in-your-face, ground-level camera work, a war zone-sounding soundtrack and the sense that here we go again, "Bloody Sunday" might have appeal beyond the north of Ireland. Commercially, it's likely to be a festival staple or, at best, an independent offering that will fare best in Europe.
Aesthetically, "Bloody Sunday" bangs along like a cab ride where the driver speaks in a foreign tongue and you're jarred all the way with swirls and quick stops and the constraint crackle of the receiver, where only every seventh or eight word can be distinguished. And, in this case, there's the dialogue: "Kroist", "Immmerershceean, roight", and other thick Irish utterings that are virtually incomprehensible. Admittedly, such a stylistic is appropriate to the buildup of the murderous confrontation that results.
The filmmaker's viewpoint will undoubtedly be skewered in these post-Sept. 11 times. With the onslaught of TV -- where we've sided with our Special Forces against he rabble of a zealot, makeshift opponent -- the filmmakers may find that Americans are now siding with the guys in the uniforms with the walkie-talkies. In short, it's hard not to view "Bloody Sunday" post-Sept. 11 as anything more than a generic TV war, and in these times, U.S. audiences are not going to want to sympathize with unorganized, slogan-shouting types, with a few fringers packing guns.
Intelligently made and well-crafted, "Bloody Sunday"'s assaultive aesthetic documents the buildup to the bloody confrontation between British soldiers and Irish protesters that resulted in 13 civilian deaths. Centering on a well-meaning yet preening parliamentarian, Ivan Cooper (James Nesbitt), a Protestant who represents a Catholic district and wants to lead a peaceful march in the tradition of Martin Luther King Jr., the film delineates through a representative throng of touchstone characters how things go so quickly bloody.
In addition to the Irish side, the filmmakers sagely show the British side -- young soldiers who fear the "hooligans" and are burned out with being taunted and having rocks thrown at them. In short, we see the tempers bristling on both sides, as each can point to atrocities or shortcomings of the "other side." We see the British commander who feels he has to make a point and show strength of 10 Downing; we also see the lurking, murderous IRA -- the grubby men on the fringes who want the march to escalate into violence for their own agenda. In short, we see a lose-lose catastrophe in the making.
Again, post-Sept. 11 audiences will focus on the fact that this upheaval occurs during a time when young males reached a population peak. The list at the end of the film of those killed shows a preponderance of 17-year-olds -- in more sophisticated Rolling Stones terms, hormonal lads who "went down to the demonstration to get their fair share of abuse." The filmmakers try to personalize these guys though a tall, shaggy-haired lad with a wee bit of problem with the law, but he's got a good heart and ends up throwing rocks out front; hereinafter referred to as the "Daniel Day Lewis-type character."
"Bloody Sunday" is intelligently crafted and often insightful. In particular, we note the hubris of the march leader, a well-meaning but egotistical man who loves being the center of attention, calling out to folk. Many viewers could conclude that it was his ego, knowing full well what was going to happen, that was a major factor in causing the bloodletting -- a vainglorious idealist who led "many sheep to slaughter." Others could conclude that it was the British who were forced to make a statement. One could argue on and on ... and the bloodletting goes on.
"Bloody Sunday" winds up with the list of names of those killed and a sharp invective against the British for covering it all up. The high swill of a U2 anthem rages bathetically, making one wish immediately for a Bloody Mary.
BLOODY SUNDAY
Portman Film presents
In association with Granada, the Film Council and
Bord Scannan na hEirann/The Irish Film Board
A Granada Film/Hell's Kitchen production
Producer: Mark Redhead
Screenwriter-director: Paul Greengrass
Executive producers: Pippa Cross, Arthur Lappin, Jim Sheridan, Paul Trijbits, Tristan Whalley, Rod Stoneman
Co-producers: Don Mullan, Paul Myler
Director of photography: Ivan Strasburg
Editor: Clare Douglas
Production designer: John Paul Kelly
Costume designer: Dinah Collin
Music: Dominic Muldoon
Color/stereo
Cast:
Ivan Cooper: James Nesbitt
Major General Ford: Tim Pigott-Smith
Brigadier Maclellan: Nicholas Farrell
Chief Supt. Lagan: Gerard McSorley
Frances: Kathy Kiera Clarke
Kevin McCorry: Allan Gildea
Eamonn McCann: Gerard Crossan
Bernadette Devlin: Mary Moulds
Bridget Bond: Carmel McCallion
Gerry Donaghy: Declan Duddy
Running time -- 107 minutes
No MPAA rating...
A British-Irish co-production involving Granada and James Sheridan's Hell's Kitchen company, it's an attempt to make an even-handed depiction of the events and personal stories that led to that terrible day in January 1972 when British soldiers met Irish protesters. Certain viewers, who have the stomach to endure yet another film about the mindless onslaught that goes on in Northern Ireland, may consider it "Blarney Sunday", in reference to its last-point editorial emphasis on the British whitewash of the carnage.
Still, for those who can sit through in-your-face, ground-level camera work, a war zone-sounding soundtrack and the sense that here we go again, "Bloody Sunday" might have appeal beyond the north of Ireland. Commercially, it's likely to be a festival staple or, at best, an independent offering that will fare best in Europe.
Aesthetically, "Bloody Sunday" bangs along like a cab ride where the driver speaks in a foreign tongue and you're jarred all the way with swirls and quick stops and the constraint crackle of the receiver, where only every seventh or eight word can be distinguished. And, in this case, there's the dialogue: "Kroist", "Immmerershceean, roight", and other thick Irish utterings that are virtually incomprehensible. Admittedly, such a stylistic is appropriate to the buildup of the murderous confrontation that results.
The filmmaker's viewpoint will undoubtedly be skewered in these post-Sept. 11 times. With the onslaught of TV -- where we've sided with our Special Forces against he rabble of a zealot, makeshift opponent -- the filmmakers may find that Americans are now siding with the guys in the uniforms with the walkie-talkies. In short, it's hard not to view "Bloody Sunday" post-Sept. 11 as anything more than a generic TV war, and in these times, U.S. audiences are not going to want to sympathize with unorganized, slogan-shouting types, with a few fringers packing guns.
Intelligently made and well-crafted, "Bloody Sunday"'s assaultive aesthetic documents the buildup to the bloody confrontation between British soldiers and Irish protesters that resulted in 13 civilian deaths. Centering on a well-meaning yet preening parliamentarian, Ivan Cooper (James Nesbitt), a Protestant who represents a Catholic district and wants to lead a peaceful march in the tradition of Martin Luther King Jr., the film delineates through a representative throng of touchstone characters how things go so quickly bloody.
In addition to the Irish side, the filmmakers sagely show the British side -- young soldiers who fear the "hooligans" and are burned out with being taunted and having rocks thrown at them. In short, we see the tempers bristling on both sides, as each can point to atrocities or shortcomings of the "other side." We see the British commander who feels he has to make a point and show strength of 10 Downing; we also see the lurking, murderous IRA -- the grubby men on the fringes who want the march to escalate into violence for their own agenda. In short, we see a lose-lose catastrophe in the making.
Again, post-Sept. 11 audiences will focus on the fact that this upheaval occurs during a time when young males reached a population peak. The list at the end of the film of those killed shows a preponderance of 17-year-olds -- in more sophisticated Rolling Stones terms, hormonal lads who "went down to the demonstration to get their fair share of abuse." The filmmakers try to personalize these guys though a tall, shaggy-haired lad with a wee bit of problem with the law, but he's got a good heart and ends up throwing rocks out front; hereinafter referred to as the "Daniel Day Lewis-type character."
"Bloody Sunday" is intelligently crafted and often insightful. In particular, we note the hubris of the march leader, a well-meaning but egotistical man who loves being the center of attention, calling out to folk. Many viewers could conclude that it was his ego, knowing full well what was going to happen, that was a major factor in causing the bloodletting -- a vainglorious idealist who led "many sheep to slaughter." Others could conclude that it was the British who were forced to make a statement. One could argue on and on ... and the bloodletting goes on.
"Bloody Sunday" winds up with the list of names of those killed and a sharp invective against the British for covering it all up. The high swill of a U2 anthem rages bathetically, making one wish immediately for a Bloody Mary.
BLOODY SUNDAY
Portman Film presents
In association with Granada, the Film Council and
Bord Scannan na hEirann/The Irish Film Board
A Granada Film/Hell's Kitchen production
Producer: Mark Redhead
Screenwriter-director: Paul Greengrass
Executive producers: Pippa Cross, Arthur Lappin, Jim Sheridan, Paul Trijbits, Tristan Whalley, Rod Stoneman
Co-producers: Don Mullan, Paul Myler
Director of photography: Ivan Strasburg
Editor: Clare Douglas
Production designer: John Paul Kelly
Costume designer: Dinah Collin
Music: Dominic Muldoon
Color/stereo
Cast:
Ivan Cooper: James Nesbitt
Major General Ford: Tim Pigott-Smith
Brigadier Maclellan: Nicholas Farrell
Chief Supt. Lagan: Gerard McSorley
Frances: Kathy Kiera Clarke
Kevin McCorry: Allan Gildea
Eamonn McCann: Gerard Crossan
Bernadette Devlin: Mary Moulds
Bridget Bond: Carmel McCallion
Gerry Donaghy: Declan Duddy
Running time -- 107 minutes
No MPAA rating...
- 10/15/2002
- The Hollywood Reporter - Movie News
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